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Hula
Hopkins, Jerry, Hoefer, Hans Johannes, Lueras, Leonard, Crockett-Hopkins, Rebecca. The Hula. [Hong Kong]: Apa Productions (HK), 1982. 193pp. ISBN 9971-925-07-9 (hc) $64.95. Index. Bib. Illus. Acid-Free.
This illustrated history of the hula is the combined work of four individuals. It was directed and designed by Hans Johannes Hoefer, produced by Leonard Luersa, researched by Rebecca Crockett-Hopkins, and written by Jerry Hopkins. Jerry Hopkins has published more than 27 books, including three international best sellers, and 1,000 magazine articles. He was the London and Los Angeles correspondent for Rolling Stone and had written about music for 20 years before moving to Hawaii in 1976. Hopkins was attracted by the indigenous song and dance after arriving in the islands. He became the editor of Ha`ilono Mele (Hawaiian Music News), and studied Hawaiian language and literature at UH Manoa. Hopkins published a lot of materials about hula in Ha`ilono Mele and even learned hula in a hula school.
This book provides a comprehensive study of hula from ancient to modern times, and connects the evolution of hula to the cultural history of Hawaii. The12 chapters divide hula’s chronological history into different stages. Starting with the story of two legendary sisters, Pele and Hi`iaka, many legends are introduced to tell the origins of hula. Along with the Hawaiian point of view, westerners’ perceptions and expectations of hula are described. These include Captain James Cook’s crew, who came to Hawaii in 1778; the missionaries, who openly disapproved of Hula as both a licentious and idle pastime; and Hollywood producers, who recognized the attraction and profit-potential of the hula.
Highly interesting are the two separate periods of hula renaissance introduced in this book. The Merrie Monarch’s renaissance started with the accession of King David Kalakaua in 1874. Hula once again officially went public after being banned by missionaries. Another hula renaissance occurred much more recently, when Hawaiians began to seek their roots and rights in the 1970s, the ancient art form was also renewed.
The big difference between this book and other sources of hula history is that The Hula includes rich illustrations to better explain certain events. Readers not only can see the different stages of hula’s history from the illustrations, but also witness the evolution of hula dress. Words alone might not give readers the right image. Also, at the end of the book there are nearly 50 pages of useful appendices, includes a discography that contains hula and chant recordings, a filmography of both commercial and educational films about hula, and a bibliography of books and magazines on hula. Short biographies of 60 individuals—dancers, teachers, chanters, composers, singers, musicians, scholars, and authors—who played pivotal roles in the history of the dance are included, along with a genealogy-like chart showing who taught who, pictures of hula instruments with their descriptions, and a glossary of Hawaiian words used in the text. The book concludes with an index.
Due to the combination of illustrations and text, this book is not only fit for general readers, but is also good for people who want to study Hawaiian music, culture, and history. For those people who only see the hula as a dance, it is a good source to learn about hula’s meaning for native Hawaiians. Although I highly recommend this book, I am sure many readers would love to see a revised edition with more on the current status of hula.
This illustrated history of the hula is the combined work of four individuals. It was directed and designed by Hans Johannes Hoefer, produced by Leonard Luersa, researched by Rebecca Crockett-Hopkins, and written by Jerry Hopkins. Jerry Hopkins has published more than 27 books, including three international best sellers, and 1,000 magazine articles. He was the London and Los Angeles correspondent for Rolling Stone and had written about music for 20 years before moving to Hawaii in 1976. Hopkins was attracted by the indigenous song and dance after arriving in the islands. He became the editor of Ha`ilono Mele (Hawaiian Music News), and studied Hawaiian language and literature at UH Manoa. Hopkins published a lot of materials about hula in Ha`ilono Mele and even learned hula in a hula school.
This book provides a comprehensive study of hula from ancient to modern times, and connects the evolution of hula to the cultural history of Hawaii. The12 chapters divide hula’s chronological history into different stages. Starting with the story of two legendary sisters, Pele and Hi`iaka, many legends are introduced to tell the origins of hula. Along with the Hawaiian point of view, westerners’ perceptions and expectations of hula are described. These include Captain James Cook’s crew, who came to Hawaii in 1778; the missionaries, who openly disapproved of Hula as both a licentious and idle pastime; and Hollywood producers, who recognized the attraction and profit-potential of the hula.
Highly interesting are the two separate periods of hula renaissance introduced in this book. The Merrie Monarch’s renaissance started with the accession of King David Kalakaua in 1874. Hula once again officially went public after being banned by missionaries. Another hula renaissance occurred much more recently, when Hawaiians began to seek their roots and rights in the 1970s, the ancient art form was also renewed.
The big difference between this book and other sources of hula history is that The Hula includes rich illustrations to better explain certain events. Readers not only can see the different stages of hula’s history from the illustrations, but also witness the evolution of hula dress. Words alone might not give readers the right image. Also, at the end of the book there are nearly 50 pages of useful appendices, includes a discography that contains hula and chant recordings, a filmography of both commercial and educational films about hula, and a bibliography of books and magazines on hula. Short biographies of 60 individuals—dancers, teachers, chanters, composers, singers, musicians, scholars, and authors—who played pivotal roles in the history of the dance are included, along with a genealogy-like chart showing who taught who, pictures of hula instruments with their descriptions, and a glossary of Hawaiian words used in the text. The book concludes with an index.
Due to the combination of illustrations and text, this book is not only fit for general readers, but is also good for people who want to study Hawaiian music, culture, and history. For those people who only see the hula as a dance, it is a good source to learn about hula’s meaning for native Hawaiians. Although I highly recommend this book, I am sure many readers would love to see a revised edition with more on the current status of hula.
Reviewed by Nimagesang, LIS Student, University of Hawaii at Manoa, Review submitted in April 2006.
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